History and Practice of the Art of Photography by Henry Hunt Snelling (the read aloud family txt) π
Others were experimenting at the same time, among them Mr. Wolcott and Prof. Draper, and Mr. Morse, with his acustomed modesty, thinks that it would be difficult to say to whom is due the credit of the first Daguerreotype portrait. At all events, so far as my knowledge serves me, Professor Morse deserves the laurel wreath, as from him originated the first of our inumerable class of Daguerreotypists; and many of his pupils have carried the manipulation to very great perfection. In connection with this matter I will give the concluding paragraph of a private letter from the Professor to me; He says.
"If mine were the first, other experimenters soon made better results, and if there are any who dispute that I was first, I shall have no argument with them; for I was not so anxious to be the first to produce the result, as to
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Bromine and Fluoric Acid, in combination, are used by some Daguerrean artists as a sensitive, but any of the above compounds are better; besides this, the fluoric acid is a dangerous poison, and the quick made from it will not repay the risk to the health in using it.
As I have before said, great caution should be observed in examining the color of the plate, even by the feeble light allowed, which, when attained, must be immediately placed in the holder belonging to the camera and covered with the dark slide. You then pass to the
THIRD OPERATION.--Submitting the Plate to the action of Light in the Camera.--Experience alone must guide the operator as to the time the plate should be exposed to the influence of the light; this being dependent on a variety of circumstances, as clearness of the atmosphere--and here, a reference to the hygrometer will be of advantage--time of day, object to be taken, and the degree of sensitiveness imparted to the plate by the quickstuff. As I have before said, the artist should be careful to see that the interior of the camera is clean and free from dust, as the small particles flying about, or set in motion by the sliding of the holder into the box, attach themselves to the plate, and cause the little black spots, by which an otherwise good picture is frequently spoiled. Care should also be taken in withdrawing the dark slide, in front of the plate, from the holder, as the same effect may be produced by a too hasty movement. The lens is the last thing to be uncovered, by withdrawing the cap c. fig. 5., which should not be done until you have placed the sitter in the most desirable position. When, according to the judgment and experience of the operator, the plate has remained long enough to receive a good impression, the cap is replaced over the lens, and the dark slide over the plate, which is then removed from the camera.
Daguerreotypists generally mark time by their watches, arriving at the nearest possible period for producing a good picture by making several trials. As a ready method of marking short intervals of time is, however, a very important consideration, and as any instrument which will enable an artist to arrive at the exact period, must be an improvement, and worthy of universal adoption, I will here describe one invented by Mr. Constable of England, which he calls a
Sand Clock, or Time Keeper.--"It consists of a glass tube, about twelve inches long, by one in diameter, half filled with fine sand, similar to that used for the ordinary minute glasses, and, like them, it has a diaphram, with a small hole in the centre through which the sand runs. The tube is attached to a board which revolves on a centre pin; on the side is a graduated scale, divided into half seconds; the tube is also provided with a moveable index. This instrument is attached, in a conspicuous place, to the wall. The glass tube being revolved on its centre, the index is set to the number of half seconds required, and the sand running down, the required time is marked without the possibility of error. In practice it will be found to be a far more convenient instrument for the purpose than either a clock or a seconds watch, and is applicable both for the camera and mercury box."
If the artist finds it desirable or necessary to take the object to be copied in its right position, that is reverse the image on the spectrum, he can do so by attaching a mirror (which may be had of Mr. Anthony, or Mr. Roach) to the camera tube, at an angle of forty-five degrees.
If, after taking the plate from the camera, it be examined, no picture will yet be visible, but this is brought about by the
FOURTH PROCESS.--Bringing out the Picture, or rendering it Visible.--We now come to the use of the mercury bath, Fig. 11. To the bath a thermometer is attached, to indicate the proper degree of beat required, which should never be raised above 170 deg. Fahrenheit. The plate maybe put into one of the frames (see Fig. 11,) over the mercury, face downwards, and examined from time to time, by simply raising it with the fingers, or a pair of plyers. This operation, as well as the others, should take place in the dark closet.
[Updater's note: HIPHO_26.GIF and hipho27.GIF are both captioned Figure 27.]
Sometimes, to prevent the necessity of raising the plate, an additional cover or top is made use of. It consists of a box fitted closely to the inner rim of the bath, and having an inclined top (a, Fig. 27.) The top is cut through and fitted with frames for each size of plate, like those already described, and in the back is a piece of glass (b,) through which to view the progress of mercurialization, and an additional piece (c,) on one side, colored yellow, to admit the light. The outline only of the top is here given, in order to show every portion of it at one view.
The picture, being fully developed, is now taken out and examined; it must not, however, be exposed to too strong a light. If any glaring defects be perceived, it is better not to proceed with it, but place it on one side to be re-polished; if, on the contrary, it appears perfect, you may advance to the
FIFTH OPERATION.--Fixing the Image so that the light can no longer act upon it.--The following articles are required for this purpose:
Two or three porcelain or glass dishes, in form, something like fig. 24.
A plate support, fig. 25. Few, I believe, now make use of this, although it is a very convenient article.
Hyposulphite of Soda,
A pair of Plyers.
In Europe, they also use a drying apparatus, Fig. 27, but this, like the plate support, is a matter of little consequence, and may be dispensed with. I will, however, describe it, for the benefit of those who may wish to use it.
[Updater's note: HIPHO_26.GIF and hipho27.GIF are both captioned Figure 27.]
A vessel made of copper or brass, tinned inside, and large enough to take in the largest plate, but not more than half an inch wide, is the most convenient. It must be kept perfectly clean. Hot distilled water is poured into it, and the temperature kept up by a spirit lamp.
Hyposulphite of Soda.--Having made a solution of hyposulphite of soda, and well filtered it--the strength is immaterial; about half an ounce of the salt to a pint of distilled water is sufficient--pour it into one of the porcelain dishes, put into another plain, and into a third distilled water. Immerse the plate with its face downwards into the hyposulphite, and the whole of the sensitive is removed, and the light has no farther action upon it; it is then to be removed from the hyposulphite and plunged into the plain water, or placed upon the support, fig. 25, and the water poured over it. It is then washed in a similar manner with the distilled water and well examined, to see that not the slightest particle of dust rests on the surface. The next step is to dry it.
This may be readily accomplished by holding the plate with your plyers, and pouring distilled water over it--if it is hot, so much the better. Apply the spirit lamp to the back, at the corner held by the plyers, at the same time facilitating the operation with the breath; pass the lamp gradually downwards, finishing at the extreme corner. The last drop may now be removed by a little bibulous paper. A single drop, even, of distilled water allowed to dry on any part of the surface, is certain to leave a stain which no after process can remove.
To illustrate the necessity for having perfectly clean water, and free from all foreign matter--only to be avoided by using that which is distilled--in these processes, I will relate a little anecdote.
An operator in this city (New York) frequently made complaint to me, that his plates were occasionally very bad; coming out all over in little black and white spots and spoiling many very good pictures, regretting at the same time that perfect plates were not made, for he had lost many customers in consequence of these defects. These complaints being somewhat periodical, I suggested that the fault might be in the hyposulphite, or chloride of gold solutions, or particles of dust floating about in the room, and not in the plate.
A few days after he stated, that his plates having served him again in the same way, he procured a fresh supply of hyposulphite of soda and chloride of gold, but after applying them the result was no better. He then, by my advice, thoroughly cleaned his wash dishes, bottles and water pail, made fresh solutions and had no further trouble, becoming satisfied that the plates suffered an undue share of censure.
SIXTH PROCESS.--Gilding the Picture.--This is an improvement the honor of which is due to M. Figeau, and may take place either before the drying process, or at any subsequent period; but it improves the picture so materially that it should never be neglected. The articles necessary for gilding are--
A Pair of Plyers; or a Gilding Stand (see fig. 19) and Chloride of Gold; or Hyposulphite of Gold.
The latter is imported by Mr. E. Anthony, 205 Broadway, New York, and is decidedly the best article for the purpose. One bottle simply dissolved in a quart of water will make a very strong solution, and gives a richness to the picture impossible to be obtained from the chloride of gold. The process is precisely similar to that described below for chloride of gold, taking care to cease the moment the bubbles are well defined over the surface of the plate. Many Daguerreotypists, after a superficial trial, discard the hyposulphite of gold as inferior; but I have no hesitation in asserting that the fault lies with themselves; for in every case within my knowledge, where its use has been persisted in until the correct method has been ascertained and the nature of the gilding has become familiar, it is always preferred. In illustration of this fact I will relate an anecdote:
A gentleman to whom it had been recommended, purchased a bottle, and after making one or two trials of it, wrote to his correspondent--"Send me two bottles of chloride of gold, for I want no more of the hyposulphite; it is good for nothing." A few weeks after he sent for three bottles of the condemned article, confessing that he had found fault unnecessarily; for, that since he had become familiar to its use, he must acknowledge its superiority, and would use no other gilding.
The Solution of Chloride of Gold is prepared by dissolving in a pint of distilled water, fifteen grains of chrystalized chloride of gold. This solution will be of a yellow tint. In another pint of distilled water dissolve fifty-five grains of hyposulphite of soda; pour gradually, in very small quantities, the gold into the hyposulphite of soda, stirring the solution at intervals; when finished the mixture should be nearly colorless.
Place the plate on its stand, or hold it in the plyers, in a perfectly horizontal position--silver surface upward--having previously slightly turned up the edges, so that it may hold the solution. Wet the surface with alcohol, letting any superfluous quantity drain off. The alcohol is of no farther use than to facilitate the flowing of the gold mixture
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